Price, 25 Cents 




PUBLISHED BY 

The* Dr-amatic Publ^ishing Compant 



Practical Instructions for 
Private Theatricals 

ByW. D. EMERSON 
Author of **A Country Eomance,'^ ''The Unknown Eival," 

"Humble Pie," etc. 



Price, 25 cents 



Here is a practical hand-book, describing in detail all the 
accessories, properties, scenes and apparatus necessary for an 
amateur production. In addition to the descriptions in words, 
everything is clearly shown in the numerous pictures, more 
than one hundred being inserted in the book. No such useful 
book has ever been offered to the amateur players of any 
country. 

CONTENTS 

Chapter I. Introductory Remarks. 

Chapter II. Stage, How to Make, etc. In drawing-rooms 
or parlors, with sliding or hinged doors. In a single large 
room. The Curtain; how to attach it, and raise it, etc. 

Chapter III. Arrangement of Scenery. How to hang it. 
Drapery, tormentors, wings, borders, drops. 

Chapter IV. Box Scenes. Center door pieces, plain wings, 
door wings, return pieces, etc. 

Chapter V. How to Light the Stage. Oil, gas and electric 
light- Footlights, Sidelights, Eeflectors. How to darken the 
stage, etc. 

Chapter VI. Stage Effects. Wind, Eain, Thunder, Break- 
ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, 
Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, 
Shots. 

Chapter VII. Scene Painting. 

Chapter VIII. A Word to the Property Man. 

Chapter IX. To the Stage Manager. 

'Chapter X. The Business Manager. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



The Girl and the Outlaw 



A DRAMATIC PLAYLET 



BY 

KATHARINE KAVANAUGH 



Ck>pyright 19U by THE DRAMATIC PUBLISHING COMPANY 



CHICAGO 

THE DRAMATIC PUBLISHING COMPANY 



F535Z\ 



CAST OF CHARACTERS. 

Margaret Fenton, a prairie flower. 
Don Thomaso, an outlaw. 
Pedro, a half-breed. 



JAN -6 1915 



The Girl and the Outlaw 

Scene: Interior of Don Thomaso's hut in the moun- 
tains. Door R. U. and door C. Open window L. C. 
with blanket for curtain. Rough table and chair R. C. 
Couch with Navajo blanket L. C. Rough wooden cup- 
board up L., with a few heavy plates and other dishes. 

[Curtain rises on Pedro, who lies, smoking, on the 
couch. His eyes are directed to the door R. U. Pres- 
ently he rises and goes slowly to the door R. TJ., listens, 
then comes down to the tahle.^ 

Pedro. Huh — mighty quiet in dere — she sleep, may 
be. She raise blazes dis momin'. For one little girl she 
raise most hell anybody I ever see. [Looks at his left 
hand.] Hull — dere where she cut me yesterday — trow 
knife and most cut off my two fingers. Now, I know 
better, she eat without a knife. Little devil. Well, 
pretty soon her father send ransom money and she go 
way from here — [Pauses to take a puff] — may be, and 
may be not. I t'ink boss pretty much stuck on her. 
She trow knife at him he pretty soon get cured. [Sud- 
denly pauses — half turns as he sits on end of table — 
listens, then shrugs his shoulders and keeps on smoking.] 
Oh, I guess she still sleep ! 

[Margaret quietly enters R. V., unseen by Pedro. 
She makes toward window, raises end of blanket, looks 
out, then goes back softly toward door C. Has reached 
door when Pedro turns and sees her.] 

3 



4 THE GIRL AND THE OUTLAW 

Pedro. Little fool ! You go out dat door dose men 
slioot you quick, like dat ! [Snaps fingers.'] 

Margaret. I don't believe you ! I don't believe there 
can be more than two such scoundrels as you and that 
master of yours in the whole world ! [Pedro reaches 
for his pistol.] I'm not afraid of your gun. Shoot me 
if you like. I'm going to take my chances out there. 

Pedro. I swear I am telling you the truth ! The men 
out there are all outlaws like myself. You would stand 
no chance with them. They have orders from the boss 
to shoot you if you tried to get away. They'd kill me 
if I let you go. They'd even kill the boss if he let you 
go before your father sends the mone3^ 

Margaret. Why ? 

Pedro. Because ever>^ one of them is entitled to his 
part of the ransom. You t'ink I am liard man — you 
t'ink the boss hard man, eh? — but I tell you, every one 
of dose men is as bad or worse. They are hard up, crazy 
for money, and they are outlaws. 

Margaret. But aren't they men, after all? Aren't 
they human beings? Haven't they any feelings? Oh, 
I'm not worried about myself — but think what my poor 
dad is suffering. 

Pedro. We do think of him. There is not a man out 
there that don't hate him. There's not one among us 
that lie has not liunted and sworn to punish. 

Margaret. It's his duty to hunt outlaws. That's 
what he is sheriff for. If you were honest men you'd 
have no cause to hate him — or fear him either. 

Pedro [Shrugs]. Huh — we do not fear him. 

Margaret. You do fear him — and you'll have cause 
to fear him more than ever when he learns what you've 
done to me. 



THE GIRL AND THE OUTLAW 5 

Pedro. Don 't we treat you well ? You got nice room 
— pleiit}' to eat — and Pedi"o to wait on you. Vou would 
also have knife and fork to eat with if you didn't liave 
bad habit of throwing them at peoj)le. 

Margaret. See here, Pedro, you say you need money. 
Get me out of here before Don Thomaso returns, and I 
swear you'll be well paid for it. 

Pedro. Sure, I will be well paid, with a knife in my 
back. I like to be accommodating, Senorita, but I have 
only one life, and that is very dear to me. Besides, it 
is impossible — you coiild not go a foot outside that door 
before they would have you. 

Margaret. God ! — is it possible there is not one man 
among you? Have you never had a sister, Pedro? 

Pedro. No — my sisters were all brothers, and T aui 
the only child. 

Margaret. Have you never been in love, Pedro ? 

Pedro. Oh, yes, sixteen or seventeen times — but it 
never took. 

Margaret. Well, isn't there something I can appeal 
to? Isn't there anything soft about you, Pedro? 

Pedro. Only my head — my heart is as hard as nails. 

Margaret. What do 3'ou think is going to liappen to 
you when Don Thomaso and all his ruffianly gang are 
captured by my father, the sheriff? 

Pedro. Your father, the shenff, will never (capture 
Don Thomaso. He has been trying to do it for years, 
l)ut Thomaso is too smart for him. 

Margaret. Well, he'll get him one of these days, and 
when he does, all you bad men are going to liave a necktie 
party all to yourselves. I wonder liow it feels to have a 
rope real tight around your neck, with the other end 
thrown over tlie limb of a tree, and four oi* five big 



6 THE GIRL AND THE OUTLAW 

iiusky fellows pulling you up and up, and you feel 
yourself choking — choking — 

Pedro. By gar, you stop dat kind of talk — ^you hear 
me? 

Margaret [Laughing]. Pedro, you're a coward. 

Pedro. What ! 

Margaret. That's what I said, a coward! All your 
bravery lies in that six-shooter you've got in your belt. 
If you didn't have that within reach you'd be afraid 
of me, a girl. 

Pedro. Huh — w^ho wouldn't be afraid of a girl who 
throws knives so straight like you? 

Margaret. Well, I haven't got a knife now, but I'd 
like to have one. I'd spoil that smoke of yours. [Takes 
a plate from cupboard.] Don't you know it's impolite 
to smoke in the presence of a lady? Throw that cig- 
arette away — throw it away. 

Pedro. By dam — who you talkin' to? 

Margaret. I'm talking to you, and I mean business. 
[Aims plate at him.] Throw that nasty thing away 
before I break this plate over your head. 

Pedro. Break plate nothing — you break my head. 

Margaret. I '11 give you just four seconds to do what 
I tell you. 

Pedro. No, I don't throw no cigarette away. [Is 
about to put cigarette in his mouth. Margaret throws 
plate at his feet. He dodges.] By dam, girl, what you 
doin'? 

Margaret. Didn 't you see what I was doing ? Wait, 
I'll do it again. [She reaches for another plate.] 

Pedro. You come away from dere. 

Margaret. Not a step. 

Pedro. Come Avay, I tell you. You tink I goin' to 



THE GIRL AND THE OUTLAW 



stand here and let you throw whole damn china closet 
at me. Come, I fool enough ; now I mean what I say. 
[Puts hand to gun.'j 

Margaret. You're bluffin', Pedro. You can't scare 
me that way. 

Pedro. Huh— you tink I won't shoot. 

Margaret. I know you won't. If you harmed me, 
that outlaw chief of yours would cut your ears off. 

Pedro. You know why"? Because he save you for 
himself. You mighty fresh, eh ? You tink you come to 
no harm in dis place; I tell you dere is no more cruel 
man in de whole world than Don Thomaso. Murderer, 
outlaw, thief— he cares for nothing, nobody. He is the 
most bad man I ever see. 

Margaret. Then why do you stick to him ? 

Pedro. Dey say birds of a feather flock together. I 
guess I most bad man as he is. [Is about to put cigarette 
to his mouth.l 

Margaret. Didn't I tell you not to smoke? 

Pedro. Oh, you go — [Margaret throws another 
plate. He dodges.] By dam, you stop dat now— stop 
it, I say— I stand 'nough such foolishness. 

Margaret. And I've stood enougli of your bad to- 
bacco. Every time you take a puff 1 '11 smash a plate as 
close to that hardwood head of your as possible. 

Pedro. If I say I no smoke, you come 'way from dose 
plates, eh? 

Margaret. Yes, if you throw that bag of tobacco 

over here. 

Pedro. But I give you my word— 

IMargaret. Your word ain't worth a huckleberry to 
me. Throw the bag, or I throw a plate. 

Pedro [Throws hag]. Dere. you— you— 



8 THE GIRL AND THE OUTLAW 

Margaret [Aiming plate] . Don 't you call me names. 

Pedro. I had no intention, Senorita. [Margaret 
tkrotvs hag out of window.] You little devil, you throw 
away my good tobacco. 

[Margaret suddenly pretends to he ill. Pedro looks 
at her distrust f idly.] 

Pedro. What's matter now, eh? 

Margaret. Pedro, I'm beginning to feel faint — that 
rope you were smoking has made me ill — get me a glass 
of water, Avill you? 

Pedro. Here, take drink whiskey. [Offers flask.] 

Margaret. No, I couldn't drink that stuff. I want 
water — get me some water — quick, Pedro, I'm sick. 
[Staggers to couch and lies down.] 

Pedro [Crosses and looks down at her]. You no tell 
me lie, eh ? You sick for sure, eh ? 

Margaret. Can 't you see I am ? I 'm going to faint. 
I know I am. I feel it coming. Get me some water — 
water — [She pretends to faint. Pedro stands looking 
at her.] 

Pedro. If you fool me, you little devil, I shake de 
life out you. Here, you no sick. You little liar, eh? 
Come, wake up. [He shakes her — she remains in faint.] 
By gar, she sick sure 'nough. If boss give me job take 
care woman again I cut my own throat first. I go get 
bucket water and throw it in her face. [Exit R. U.] 

Margaret [Jumps up, runs to R. U. E., turns the key 
in door, and laughs]. Oh, how easy. [Runs to window, 
looks out.] I wonder if he was telling the ti-uth about 
those men out there. I must take the chance. I must 
get home to Dad. 

[Ahout to exit C. D. when door opens and Don 
Thomaso enters. He closes door.] 



THE GIKL AND THE OUTLAW 







Thomaso. What ! Going to take French leave, were 
you? Where is that dog of a Pedro? [Looks about.] 

Margaret. Oh, I 've got him in cold storage. [Crosses 
to table R.'] 

Thomaso. Inclined to be funny, eh? Good, I like 
you better that way. You've been a little devil since 
yesterday, do you know it? 

Margaret. Yes, but I found so many other devils 
around, I thought I'd change just to be different. 

Thomaso. How did you manage to get rid of Pedro? 

Margaret. Pretended to faint and sent him for a 
glass of w^ater. 

Thomaso. And he went like a fool. 

Margaret. Exactly ! 

Thomaso. You're a clever little woman, but you 
w^on't w^ork any of your tricks on me. As for that 
Mexican dog, I'm going to teach him a lesson. [Starts 
for door L. U. with whip.] 

Margaret [Runs and stands before door L. U.]. 
What are you going to do? 

Thomaso. I'm going to whip him within an inch of 

his life. 

Margaret. You shan't do it! 

Thomaso. What ! 

Margaret. You shan't touch him! You called him 
a Mexican dog, but he's w^hiter than you are. 

Thomaso. He's a dirty half-breed. 

Margaret. And what are you? 

Thomaso. Never mind about me. As good l^lood 
flows in my veins as there does in yours. 

Margaret. Oh, no, my people are white people— my 
father is a man— a brave, courageous man— not a cow- 
ardlv thief and outlaw. 



10 THE GIRL AND THE OUTLAW 

Thomaso. I'm an outlaw, yes, but no one has ever 
called me a coward. 

Margaret. It's cowardly to keep me here against my 
will — it's cowardly to torture an old man as you are 
torturing my father. 

Thomaso. Ever since your father has been sheriff 
he has made it his business to hunt me, day and night; 
he has sworn to take me, where other men have failed; 
he has put a price on my head, and if it were not that I 
know the secret places of these mountains better than 
any man living, he would have strung me up long ago. 
Do you expect me to have any pity on him — do you 
expect me to have any for you, his daughter? 

Margaret. Does he know that I am in your power? 

Thomaso. Yes. I took great pleasure in imparting 
the information. As soon as he hands over the ransom 
money I'll send you home. 

Margaret. He'll never send you a penny. 

Thomaso. Then I will send him one of your little 
fingers for a reminder. If that isn't enough I'll send 
another— one each day until he gives in. I think the 
first one will be sufficient. 

Margaret. And I warn you the first chance I get to 
escape, I'll take it. 

Thomaso. How? That door is guarded on the 
outside. 

Margaret. Then I T1 try the window. [Starts toward 
the window.] 

Thomaso. Wait. [Goes to door L. Z7., unlocks it, and 
calls.'] Pedro — you black dog — come here. 

[Enter Pedro, frightened.] 

Thomaso. Take your gun and stand outside that 



THE GIRL AND THE OUTLAW 



11 



■window. If any one as much as raises that curtain, 
shoot, and shoot to kill— do you understand? 

Pedro. Si, Senor. 

Thomxso [Slashes whip]. Then go. \Fedro takes gun 

and exits CD.} 

Margaret. You dog— and you call yourself a white 
man— you lie ; no white man would torture a woman. 

Thomaso. That'll do out of you. So you think I'm 
a miserable half-breed like those men outside, do you? 
Come here. [He takes from his shirt a small chain with 
a half a locket attached.] You see this little trinket? 
It is one-half of a baby's locket with a woman's picture 
inside. Bead what it says. [Margaret hesitates. He 
holds the locket out.] Read! 

Margaret [Takes the locket wonderingly— glances at 
it in surprise] . Where did you get this ? 
• Thomaso [Impatienily]. Read! 
Margaret [Beads from locket] . ' ' Tom, from mother. 
Who are you— where did you get this locket? 

Thomaso [Taking it from her]. I've always had it— 
ever since I remember. In my baby days among the 
half-breed Mexicans who raised me, this trinket was 
my only plaything. I used to gaze at the picture and 
wonder who the pretty lady was. 

IVIargaret [Looking at him closely]. Do you know 

now? 

Thomaso. I believe she was my mother. 

Margaret [Her hands to her eyes]. Oh, no, no, that 

can't be. 

Thomaso. What do you mean? 

JVLvRGARET. I mean that I have the other half of that 
locket, with the same woman's face in it, and she was 
mv mother. 



12 THE GIRL AND THE OUTLAW 

Thomaso. Are you telling me the truth? 

Margaret. Here it is — see for youi*self. [Takes half- 
locket from her neck.'] 

Thomaso [Gazes at locket]. The same. [Reads.] 
''To Margaret from mother." What does it mean? 

Margaret. It means that you have stolen that locket 
— and the man you've stolen it from was my brother. 
He was taken from us by gypsies when he was five years 
old — that trinket was about his neck. I was only a baby 
then — but I remember the dark-haired little fellow — 
[Pauses, puts her hands on his shoulders, looks closehj.] 
Let me look at you. My God, it can 't be — it can 't be — 

Thomaso. It is — it's true — it's time. 

Margaret [Turns sadly from him]. And you an 
outlaw. 

Thomaso. And what chance had I to be anything 
else? Raised among a gang of cutthroats who taught 
me to steal and cheat and murder ! Five years ago, when 
I was nothing more than a boy, a man called me a 
Mexican dog — I told him he lied — he struck me in the 
face with the butt of his revolver — I drew mine and shot 
him through the heart. Since then, they've tried to 
catch me — my own father has set a price on my head. 

Margaret. Ah, but he didn't know it was his own 
son he was hounding ! You were nothing to him but an 
outlaw, a notorious criminal. It will be different now! 
He will tiy to save you instead ! 

Thomaso. He can't! If they ever catch me, no one 
can save me. I am a murderer — an outcast — 

Margaret. You are my brother, and you've never 
had a fair chance. Dad must try to save you. 

Thomaso. Never mind about me now. The thing is 
to get you out of this place as soon as possible. 



THE IJlliL AND THE OUTLAW 13 

Margaret. Won't they let me go if you tell them — 
Isn't your word law among them? 

Thomaso. No — far from it. They call me chief 
because I'm a little braver, a little more reckless than 
they are, but every one of them is waiting for his share 
of the ransom money you were to bring — they'll never 
h't you go wi til out it. 

Margaret. Then what are we to do ? 

Thomaso. Til lie to tliem. I've never lied to them 
before and they'll believe me. Go, get your hat — per- 
haps I can get you away without being seen. [Mar- 
garet exits R. U.] If I can only get her away. My life 
will pay the forfeit, but I am willing. Let's see if the 
coast is clear. [Raises curtain at window . A shot is 
fired. Thomaso staggers hack, catching on cupboard to 
hold himself up.] My God — it was Pedro — I forgot. 

[Enter Margaret, R, U.] 

Margaret. I'm ready. Are you coming with me? 

Thomaso [Bracing himself \. I can't just now. You'll 
be safe with Pedro. Call him for me. 

Margaret [Goes to door]. Pedro — come. 

[Enter Pedro.] 

Thomaso. Pedro, see that Miss Fenton leaves here 
immediately. Tell the men the ransom money has been 
paid. That I am responsible. 

Pedro. Si. Senor. [Margaret and Pf:DRo exit door 
in flat. I 

Thomaso. If I can only hold out vuitil she is safe. 
God, will you help me do it? You've never done much 
for me in all my wasted life — but help me just this once 
— for her sake. 

[Enter Pedro.] 

Thomaso. Is shr safe, Pedro? 



14 THE GIRL AND THE OUTLAW 

Pedro. She is gone, Master. 

Thomaso [Relaxes and falls on couch]. Then I can 
go too. [He rolls to floor, dead. Pedro drops his gun, 
runs to Thomaso 's side and feels his heart.} 

Pedro. Master ! 

CURTAIN. 



Because I Love You 

Dtama in Font Acts 

By JOHN A. FRASER 

AuUMt Ol "A Woman's Honor," "A Noble Outcast," **A Modem 

Ananias," "Santiago," etc. 

Price» 25 cents 

Eight male, four female characters. Plays two hours. Modem 
costumes. This is probably the strongest drama written of the 
modern romantic style. It is a pure love story and its sentiment 
and pathos are of the sterling, honest kind which appeals to every 
man and woman with a human heart. The stage business will be 
found extremely novel, but easily accomplished. The climaxes are 
all new and tremendously effective. One climax especially has 
never been surpassed. 

CAST OF CHARACTERS 
Imogene Courtleigh. Wilful, waj^ward and wealthy. ...Juvenile lead 

Ginger. A Gypsy waif Soubrette 

Nance Tyson. Her supposed mother Character 

Prudence Freeheart. A poor relation Old maid comedy 

Horace Vemer. An artist and accidentally a married man 

Juvenile lead 

Dick Potts. His chum and incidentally in love with Ginger 

Eccentric comedy 

Ira Courtleigh. Imogene's guardian Heavy 

Buck Tyson. A Gypsy tinker Character comedy 

Elmer Van Sittert. Anglomaniac, New Yorker Dude comedy 

lifejor Duffy. County Clerk and Confederate veteran 

Irish comedy 

Squire Ripley. A Virginia landlord Character old man 

Lige. A gentleman of color Negro character 

Note; Squire Ripley and Van Sittert may double. 

SYNOPSIS OF SCENES 

Act 1. "The George Washington," a country tavern in old Vir- 
ginia. An impromptu wedding. "When I was on the boards at 
old Pott's theayter." "Horace has fallen in love and has done 
nothing but rave about her ever since." "The marriage ceremony 
performed, I depart, and you will make no attempt ever to see me 
again." "Except at your own request, never!" 

Act 2. Lovers' Leap, a Blue Mountain precipice. A daring res- 
cue. "Gold does not always purchase happiness, lady." "Do you 
ever feel the need of a faithful friend?" "I do, I do, I'm thinking of 
buying a bulldog." "Look at the stride of him, and Imogene 
sitting him as if he were a part of herself." Within twenty feet 
of certain death. "Gone? Without even my thanks for such a 
deed of desperate heroism?" 

Act. 3. The Courtleigh Place. A woman's folly. "And you say 
his father was a gentleman?" "1 have already refused to sign the 
aocument." "Stand back, she is my wife." 

Act. 4. The "Mountain Studio." "You're too good to let that 
French girl get you." "I struck him full in the face and the chal- 
lenge followed." "You will not meet this man, dear love?" "It 
shall, at least, be blow for blow." "I'll release you from your 
promise. Fight that man." "I'm the happiest man In old Vir» 
{finia, because you love me.'* 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILUNOIS 



The Spinsters^ Convention 

(The Original 
Old Maids^ Convention) 



Price, 25 cents 



An evening's entertainment which is always a sure hit and 
a money-maker. Has been given many hundred times by 
scnools, societies and churches, with the greatest success. An 
evening of refined fun. It requires from twelve to twenty 
ladies and two gentlemen, although ladies may take the two 
male parts. A raised platform with curtains at the back is 
all the stage requires, but a fully equipped opera stage may 
be utilized and to great advantage. 

Ridiculous old maid costumes, with all their frills and fur- 
belows, their cork-screw curls, mittens, work bags, bird cages, 
etc., are the proper costumes. Later on in the program some 
pretty young women in modern evening dress are required. 
The latter should each be able to give a number of a mis- 
cellaneous program, that is, be able to sing, play some instru- 
ment, dance, whistle or recite well. 

This entertainment utilizes all sorts of talent, and gives 
each participant a good part. Large societies can give every 
member something to do. 

SYNOPSIS 

Gathering- of the Members of the Societv— The Roll-Call — The 
Greeting Song— Minutes of the last meeting— Report of The Treas- 
urer—Music: "Sack Waltz"— A paper on Woman's Rights— Song: 
"No One to Love. None to Caress." — Reading of "Marriage Statis- 
tics" — The Advent of the Mouse — Initiation of two Candidates into 
the Society — The Psalm of Marriage — Secretary's Report on Eligible 
Men— A Petition to Congress — Original Poem by Betsy Bobbett — 
Song: "Why Don't the Men Propose?"— Report of The Vigilance 
Committee — An Appeal to the Bachelors — Prof. Make-over — The 
Ren-odelscope. -Testimonials— The Transformation and a miscel- 
Janeous program. 

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THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



Hageman^s Make-Up Book 

By MAURICE HAGEMAN 

Price, 25 cents 

The importance of an effective make-up is becoming more appar- 
ent to the professional actor every year, but hitherto there has been 
no booii on the subject describing the modern methods and at the 
same time covering all branches of the art. This want has now 
been filled. Mr. Hageman has had an experience of twenty years 
as actor and stage-manager, and his well-known literary ability has 
enabled him to put the knowledge so gained into shape to be of 
use to others. The book is an encyclopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an- 
swered by this admirable hand-book. It is not only the best make- 
up book ever published, but it is not likely to be superseded by 
any other. It is absolutely indispensable to every ambitious actor. 

CONTENTS 

Chapter I. General Remarks. 

Chapter II. Grease-Paints, their origin, components and use. 

Chapter III. The Make-up Box. Grease-Paints, Mirrors, Face 
Powder and Puff. Exora Cream, Rouge. Liquid Color, Grenadine, 
Blue for the Eyelids, Brilliantine for the Hair, Nose Putty. Wig 
Paste, Mascaro. Crape Hair, Spirit Gum, Scissors, Artists Stomps. 
Cold Cream, Cocoa Butter, Recipes for Cold Cream. . ^^ ^. , 

Chapter IV. Preliminaries before Making up; the Straight Make- 
up and how to remove it. ^ . ., ^ „ t • ^ 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips. 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. 

Chapter VI. Juveniles. Straight Juvenile Make-up, Society 
Men, \oung Men in 111 Health, with Red Wigs, Rococo Make-up, 
Hands, Wrists, Cheeks, etc. ^ ,. _ 

Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, bickly and Healthy 
Old Age, Ruddy Complexions. r^ ^ -r^f 

Chapter VIII. Comedy and Character Make-ups. Comedy Ef- 
fects Wigs. Beards Kvebjows. Noses, Lips, Pallor of Death. 

Chapter IX. The Human Features. The Mouth and Lips, the 
Eves and Eyelids, tlie Nose, the Chin, the Ear, the Teeth. 

Chapter X. Other Exposed Parts of the Human Anatomy. 

Chapter XI. Wigs, Beards, Moustaches, and Eyebrows. Choosing 
a Wig, Powdering the Hair. Dimensions for Wigs, Wig Bands. Bald 
Wigs. Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, ^^ ool, 
Beards for Tramps, Moustaches, Eyebrows. .^^ ^v. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers, Hoosiers Southerners. 
Politicians Cowboys, Minors, Quakers. Tramps, Creoles, Mulattoes, 
Quadroons, Octoroons, Negroes. Soldiers during War, Soldiers dur- 
ing Peace. Scouts. Pathfinders, I'uritans. Early Dutch Settlers, 
Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, 
Portuguese, South Americans, Scandinavians. Germans, Hollanders. 
Hungarians, Ginsies, Russians, Turks, Arabs. Moors, Caffirs, Abys- 
sinians, Hindoos. Malays. Chine.se, Japanese. Clowns and btatuary. 
He^^rews, Drunkards, Lunatics. Idiots, Misers, Rogues. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPAN\ 

CHICAGO, ILLINOIS 



LIBRARY OF CONGRESS 



HH 

PLA\5 



015 939 494 3 * 



And Entertainment Books. 

IHJEI^^ ^^^ largest theatrical booksellers in 
1^ the United States, we keep in stock the most 
complete and best assorted lines of plays and en- 
tertainment books to be found anywhere. 

We can supply any play or book pub- 
lished. We have issued a catalogue of the best 
plays and entertainment books published in 
America and England. It contains a full 
description of each play, giving number of char- 
acters, time of playing, scenery, costumes, etc. 
This catalogue will be sent free on application. 

The plays described are suitable for ama- 
teurs and professionals, and nearly all of them 
may be played free of royalty. Persons inter- 
ested in dramatic books should examine our cat- 
alogue before ordering elsewhere. 

We also carry a full line of grease paints, 
face powders, hair goods, and other '*make-up" 
materials. 

The Dramatic Publishing Company 
CHICAGO 



